Dating fender twin reverb amp brazilain online dating

The blackface Twin Reverb of 1963 to summer 1967 was followed in fall 1967 by the silverface Twin reverb—a member of the first group of post-Leo Fender amps.It had a brushed aluminum control panel, aluminum trim, blue-sparkle grille cloth and a slightly shallower cabinet.The Twin resurfaced in June 1960, dressed in brown Tolex and having volume, bass, treble, speed, intensity and presence controls.This was a short-lived version, however; quickly superseded in 1961 by the white Tolex/maroon grille cloth Twin with a control layout of volume, treble and bass (normal channel) and volume, treble, bass, speed and intensity (vibrato channel).A master volume control first appeared on the Twin Reverb in 1972.The Fender logo lost its tail by 1976, around which time pull-boost and hum balance controls were added.The mid-’60s also saw Fender’s first ill-fated foray into solid-state amps.The first three appeared in summer 1966 and included a 100-watt transistorized Twin Reverb with dual 12” speakers mounted one the other.

No need here to rehash the well-documented failure of the experiment; suffice it to say that the solid-state Twin was retired in 1969 and the entire series was abandoned in 1971.

Indeed, as Wheeler notes in , they had “great looks, a whopping ten tubes, plenty of power, tilt-back legs, gobs of kingpin mojo, and one of the best tremolos of all time.” Then came a watershed: the “blackface” reverb-equipped amps of 1963.

It might not be possible to say more in praise of the black Tolex-covered Twin Reverb of 1963-1967 than has already been said; Teagle and Sprung describe it as “possibly the quintessential combo amp,” and a model that “speaks with a deep, rich voice, sonorous and confident.” Introduced in late summer 1963, the 85-watt black Twin Reverb had classic silver-sparkle grille cloth, a raised Fender logo and redesigned dual-channel circuitry (normal and vibrato) with bright switches for both channels instead of a presence control.

Third, it was more powerful (25 watts) and it had more sophisticated tone controls than any of its predecessors.

It was, for example, the first Fender amp with separate bass and treble controls rather than a single roll-off tone control; a development that the company called “the latest in electronic advances.” Further, it had two volume knobs (bright and normal).

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The “middle” tone control returned on the amp, which had numbered and skirted black knobs and a black control panel (hence the term “blackface”).